Behauptend. 1926.
Oil on canvas.
Inscribed with the artist's monogram and dated “26” in the lower left. Inscribed with the artist's signet and the work number “No. 355” on the reverse of the canvas, as well as titled and inscribed with the dimensions on the stretcher. 45.5 x 53.3 cm (17.9 x 20.9 in).
Included in the artist's handwritten list II as number “355.”

100 years of Bauhaus Dessau: Between September 2025 and 2026, the Bauhaus Dessau Foundation will celebrate this anniversary with a spectrum of events, including exhibitions, celebrations, concerts, and performances. [CH].
• Part of the acclaimed collection of Solomon R. Guggenheim, New York, since 1936 (purchased directly from the artist).
• In the year it was made, Kandinsky taught a master class at the Bauhaus in Dessau.
• In the same year, he published his groundbreaking treatise on abstract painting, “Point and Line to Plane.”
• Featured in the 1930 exhibition series “The Blue Four,” through which the art dealer Galka Scheyer established Kandinsky, Klee, Feininger, and Jawlensky on the American market.
• Comparable works are in museum collections such as the Museum Folkwang, Essen, the Los Angeles County Museum of Art, and the Solomon R. Guggenheim Museum, New York.
• Part of an acclaimed private collection in Berlin for 45 years.

PROVENANCE: Solomon R. Guggenheim Collection (1861–1949), New York (acquired directly from the artist, no later than 1936).
The Solomon R. Guggenheim Foundation, New York.
Nathan Cummings Collection, New York (presumably acquired fromt he above in 1964: Sotheby's, London.
James Goodman Gallery, New York.
Private collection, Germany (acquired from the above in 1980).

EXHIBITION: The Blue Four. Kandinsky, Braxton Gallery, Los Angeles, March 1–15, 1930, cat. no. 11.
Solomon R. Guggenheim Collection of Non-objective Paintings, Gibbes Memorial Art Gallery, Charleston, March 1–April 12, 1936, cat. no. 83 (illustrated in black and white, with the exhibition label on the stretcher).
Solomon R. Guggenheim Collection of Non-objective Paintings, Philadelphia Art Alliance, Philadelphia, February 8–28, 1937, cat. no. 95 (illustrated in black and white).
Solomon R. Guggenheim Collection of Non-objective Paintings, Gibbes Art Gallery, Charleston, March 7–April 17, 1938, cat. no. 126 (illustrated in black and white).
Art of Tomorrow, Museum of Non-Objective Painting, New York, Juni 1939, cat. no. 280 (illustrated in black and white).
Memorial Exhibition, Museum of Non-Objective Painting, New York, March 15–May 15, 1945, cat. no. 92 (illustrated).
Selections from the Nathan Cummings Collection, National Gallery of Art, Washington, D.C., June 27–September 7, 1970, cat. no. 27 (illustrated).
Major Works from the Collection of Nathan Cummings, Art Institute of Chicago, October 1973, cat. no. 61 (illustrated in color).

LITERATURE: Hans Konrad Roethel, Jean K. Benjamin, Kandinsky. Catalogue raisonné of oil paintings, vol. 2: 1916–1944, Munich 1984, p. 741, CR no. 799 ( illustrated in black and white).
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Hilla Rebay (ed.), Solomon R. Guggenheim Collection of Non-objective Paintings, New York 1936 ( illustrated in black and white and titled “Confirming”).
Hilla Rebay (ed.), Second Expanded Catalog of the Solomon R. Guggenheim Collection of Non-objective Paintings, New York 1937, p. 35, cat. no. 95 (illustrated in black and white and titled “Confirming”).
Hilla Rebay (ed.), Third Expanded Catalog of the Solomon R. Guggenheim Collection of Non-Objective Paintings, New York 1938, cat. no. 126 (illustrated in black and white and titled “Confirming”).
Hilla Rebay (ed.), Art of Tomorrow. Fifth Catalog of the Solomon R. Guggenheim Collection of Non-Objective Paintings, New York 1939, cat. no. 280 (illustrated in black and white and titled “Confirming”).
Will Grohmann, Wassily Kandinsky. Leben und Werk, New York 1958, cat. no. 231, p. 336 (illustrated in black and white on p. 368).
Sotheby's, London, June 30, 1964, lot 20 (illustrated).
Michel Conil La Coste, Kandinsky, New York 1979, p. 70 (illustrated in color).

"Kandinsky experienced an immensely creative phase in Dessau, perhaps even the most productive of his entire life.“
Nina Kandinsky, the artist's wife, on the time they spent together at the Bauhaus in Dessau, quoted from: https://www.bauhaus-entdecken.de/persoenlichkeiten/kandinsky.